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The actions. What is shown. |
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WHATS REVEALED ONLY IN DIALOGUE |
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OPINIONS AND QUESTIONS THAT ARE ILLUSTRATED BY THE DRAMATIZATION. |
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WHAT CHARACTERS WANT THAT THEY ARE TRYING TO GET. SUB-ACTIONS OF LARGER ACTIONS |
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EVENTS WHICH MAKE THE OBJECTIVES CHANGE |
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CAUSE AND EFFECT. WHEN THINGS HAPPEN TELL YOU WHY THINGS HAPPEN. |
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EACH PLOT HAS ITS OWN ACTIONS AND TURNING POINTS. |
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THE MOST IMPORTANT PART OF ANY SCRIPT. WHATS IT DRAMATIZED. |
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WHAT IDEAS ARE INTRODUCED. |
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EVERY PLAY HAS ITS OWN SOCIETY. WHAT RULES ARE IN THIS PLAY AND WHAT DO THEY TELL YOU. |
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WHAT ARE THEY ABOUT. WHAT IDEAS ARE DEVELOPED. |
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IDEAS RUNNING THROUGH THE PLAY INCLUDING THROUGH ITS STORY. |
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RECURENT IMAGES. ANYTHING THAT IS REPEATED, BUT NOT PART OF THE STORY. |
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COMPARE SCENES, IMAGES, EVENTS, ANY TWO THINGS THAT FOLLOW EACH OTHER. |
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THE ORDER THAT INFORMATION IS REVEALED AFFECTS MEANING. |
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SIMILAR SITUATIONS, RELATIONSHIPS, CHARACTERS. |
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Definition
WHOSE FUNCTIONS IS TO BE CONTRASTED WITH ANOTHER CHARACTER. |
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GIVE PERSPECTIVE ON OPINIONS, ON OHTER CHARACTERS OR IDEAS OR EVENTS. |
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WHOSE PURPOSE IN THE PLAT IS TO SPEAK COMMON SENSE WISDOM. |
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QUESTIONS IN THE MIND OF THE AUDIENCE ABOUT WHAT WILL HAPPEN IN THE FUTURE. |
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IRONY RESULTING FROM THE THE AUDIENCE KNOWING MORE THATN THE CHARACTERS. |
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WHAT CHARACTERS ARE THINKING IN THE PLAY THAT THEY ARE NOT SAYING. |
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DISTORTION TO SHOW FEELINGS |
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WHEN AN ACTION HITS AN OBSTACLE; WHEN A CHARACTER WANTS SOMETHING THEY CANT HAVE. |
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EPISODES ARE CHRONOLOGICAL AND CASUALLY CONNECTED |
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A MAIN CHARACTER PURSUES A GOAL TO AN OUTCOME |
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EPISODES ARE CHRONOLOGICAL BUT NOT CAUSALLY CONNECTED. |
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EVENT THAT CUASES THE MAIN CHARACTERS SUPER-OBJECTIVE. WHERE THE STORY REALLY BEGINS |
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PROGRESSIVE COMPLICATIONS |
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EVENTS THAT PREVENT THE MAIN CHARACTER FROM ACHIEVING HIS/HER GOAL |
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MOST IMPORTANT DECISION IN THE PLAY. |
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OUTCOME EVENT RESULTING FROM THE CLIMAX. |
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THE CHANGE IN PERSPECTIVE UNDERGONE BY A CHARACTER |
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SERIOUS, AROUSES PITY AND FEAR, DOWNFALL OF PROTAGONIST IS RESULT OF HIS/HER OWN ACTIONS, TRIUMPH OF A LARGER COSMIC ORDER. |
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Definition
SERIOUS, AROUSES PITY AND GEAR, THREE DIMENSIONAL CHARACTER, CARACTER MORE IMPORTANT THAN PLOT. |
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Term
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Definition
CHARACTER LESS 3-D, CLEARLY DEFINED VILLAINS AND HEROES, SITUATIONS AROUSE PITY AND FEAR. SUBGENRES: ACTIONS/ADVENTURES, MYSTERIES, WESTERNS, SCIENCE-FICTION, HORROR, CRIMES, TEARJERKERS, SOAP OPERAS. |
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LIGHT IN TONE, LESS SERIOUS, HAPPY ENDINGS, INTEDED TO AMUSE. |
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UNSERIOUS. TWO DIMENSIONAL CHARACTERS, PLOT DOMINATES CHARACTER. SITUATIONS ARE LUDICROUS. =SPOOFS. |
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Term
THINGS TO REMEMBER WHEN SEEING A PLAY |
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Definition
A SCRIPT IS A BLUE-PRINT FOR AN AUDIO-VISUAL EXPERIENCE THAT TAKES PLACE IN TIME.
WE NEED TO MAKE CONSCIOUS FOR OURSELVES WHAT MAY BE SUBCONSCIOUS FOR THE AUDIENCE
ART IS COMMUNICATION.
NOTHING IS ARBITRARY |
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Term
READ PLAYS DONT READ INTO THEM |
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